2019–2020 SEASON

MEN ON

BOATSBY JACLYN BACKHAUS DIRECTED BY JENNY KOONS NOV 29–DEC 22, 2019 NOW OPEN!

TM

ESPRESSO DRINKS SNACKS WIFI

Make your next meeting/ remote work day/ find-a-quiet-spot-and-read day more interesting. With an abundance of comfortable seating, free wifi, and cozy nooks, Baltimore Center Stage's first floor has been transformed into Mount Vernon's new public gathering space. Come together with friends and colleagues or carve out that quiet time around the hum and artistic energy of your professional theater. Who knows who you might bump into!

To Bean is open Monday - Friday from 8am - 3pm and serves a variety of hot and cold coffees and teas, as well as snacks.

Support for creating the infrastructure and furnishing of To Bean or Not to BeanTM was provided by a generous gift from long-time Baltimore Center Stage donors and philanthropists George and Betsy Sherman. CONTENTS

This program is published by: 3 WelCOME BALTIMORE CENTER STAGE 700 North Calvert Street 4 TiTle PAGE TM Baltimore, MD 21202 DESIGN 6 Bill Geenen Setting ADVERTISING Kristen Cooper 6 Let's UNPACK 410.324.7700 [email protected] 14 CAST BOX OFFICE 410.332.0033 ADMINISTRATION 17 ARTISTIC TEAM 410.986.4000 CENTERSTAGE.ORG 20 ANNUAL FUND [email protected]

26 CAPITAL CAMPAIGN

30 UP NEXT

36 ARTISTIC CORNER

42 STAFF

44 AUDIENCE SERVICES

45 LAND ACKNOWLEDGMENT

ASSOCIATE PRODUCTION SPONSOR

2019/20 SEASON IS ALSO MADE POSSIBLE BY

Material in this program is made available for educational and research purposes only. Selective use has been made of previously published information and images whose inclusion here does not constitute license for Terry Morgenthaler and Patrick Kerins any further re-use. All other material is the property of Baltimore Center Stage.

BALTIMORE CENTER STAGE 1 BOARD

Terry H. Morgenthaler Hugh W. Mohler, Jr. ABOuT PResiDeNt Charles J. Morton, Jr. Edward C. Bernard J. William Murray ViCe PResiDeNt Charles E. Noell III US August J. Chiasera Rodney Oddoye ViCe PResiDeNt Founded in 1963 and designated Judy M. Phares the State Theater of Maryland Sandy Liotta Jill Pratt ViCe PResiDeNt in 1978, Baltimore Center Stage Philip J. Rauch Brian M. Eakes E. Hutchinson provides the highest quality TReAsUrer Robbins, Jr. theater and programming for Scot T. Spencer Jordan D. Rosenfeld all members of our communities, SeCRetAry Jesse Salazar including youth and families, Charles Schwabe Penny Bank under the leadership of Artistic Robert W. Smith, Jr. Taunya Banks Director Stephanie Ybarra and Scott Somerville Bradie Barr Michele Speaks Executive Director Michael Ross. Mariah Bonner Michael B. Styer Baltimore Center Stage ignites Meredith Borden Harry Thomasian conversations and imaginations Stephanie Carter Donald Thoms by producing an eclectic season Lynn Deering Joe Timmins of professional productions across Jed Dietz Krissie Verbic two mainstages and an intimate Walter B. Doggett III Jane W.I. Droppa 99-seat theater, through engaging tRUSTeeS eMeRItI Amy Elias community programs, and with Katharine C. Juliet A. Eurich inspiring education programs. Blakeslee Beth W. Falcone Everything we do at Center Stage James T. Brady Suzan Garabedian is led by our core values—chief C. Sylvia Brown Sandra Levi Gerstung Martha Head among them being Access Andrew Giddens Sue Hess For All. Our mission is heavily Megan Gillick Murray M. rooted in providing active and Adam Gross Kappelman, MD+ open accessibility for everyone, Cheryl O'Donnell E. Robert Kent, Jr. Guth regardless of any and all barriers, Joseph M. David J. Hodnett Langmead to our Mainstage performances, Elizabeth J. Himelfarb Kenneth C. Lundeen education initiatives, and Hurwitz Marilyn Meyerhoff community programming. Kathleen W. Hyle Esther Pearlstone Wendy Jachman Monica Sagner Chris Jeffries George M. Sherman John J. Keenan J.W. Thompson Webb John McCardell

Laurie McDonald + Deceased

2 BALTIMORE CENTER STAGE WELCOME

Dear Baltimore Center Stage Members and Guests,

2019 marks the 150th anniversary of John Wesley Powell’s expedition through the Grand Canyon by way of the Colorado River, making MEN ON BOATS a fitting play to close out the year. But, that’s not why I’m choosing to share this piece with you—my motivation is far less academic: I love to laugh. STEPHANIE YBARRA ARTISTIC DIRECTOR My favorite stories to tell on stage involve plays that subvert a dominant paradigm while creating ample space for actors to facilitate collective imagining and joy. The combination of playwright Jaclyn Backhaus’ raucous words and director Jenny Koons’ impeccable taste in hilarity has yielded some of my favorite acts of tomfoolery as well as sophisticated conversations about whose history we’re telling.

For the last few weeks, this group of artists has been clowning around in our fifth-floor rehearsal room finding every which way possible to both entertain and provoke your imagination.

Thank you for joining us on this particular adventure. Oars up, everyone!!!

Stephanie Ybarra Artistic Director

BALTIMORE CENTER STAGE 3

MEN ON BOATS BY JACLYN BACKHAUS DIRECTED BY JENNY KOONS NOV 29–DEC 22, 2019

4 BALTIMORE CENTER STAGE

THE CAST THE ARTISTIC TEAM in alphabetical order Ceci Fernandez Jaclyn Backhaus John Wesley Powell Playwright Kai Heath Jenny Koons Hall Director

Haruna Lee Ruth Anne Watkins Old Shady Production Stage Manager Keren Lugo Danielle Teague-Daniels O.G. Howland/Tsauwiat Resident Stage Manager Patrena Murray John Colton Sumner Danielle Zandri Stage Manager Sara Porkalob Hawkins Cathy Hwang Assistant Stage Manager Jessica Ranville William Dunn Josie R. Felt Eileen Rivera Assistant Stage Manager Seneca Howland/The Bishop Stephanie Osin Cohen Elena Urdaneta Scenic Designer Bradley Hahnji Jang Natalie Woolams-Torres Costume Designer Frank Goodman/Mr. Asa Stacey Derosier Lighting Designer

There will be no intermission. Elisheba Ittoop NOTICE: simulated gun shot Sound Designer/Original Music Rebecca Feldman, CSA Ada Karamanyan Casting

KNOW BEFORE WE GO Toni Rae Salmi Silence your cell phones— Assistant Director the play is better that way! Susannah Hyde Photography and videography are not Assistant Scenic Designer permitted during the show; however, please feel free to take photos in the Ali Eckler theater before or after the performance! Assistant Costume Designer

If you’d like to post these pictures on Tyler Omundsen social media, please be sure to credit Assistant Lighting Designer the show's artists:

PLAYWRIGHT: @queenofseltzer DIRECTOR: @jennykoons SCENIC DESIGNER: @steph.osin.cohen All the Actors and Stage Managers LIGHTING DESIGNER: @stacemadeaface employed in this production are Members of Actors' Equity Association, the Union of ORIGINAL MUSIC AND SOUND DESIGNER: @eebalish Professional Actors and Stage Managers in the United States. COSTUME DESIGNER: @hahnjij

BALTIMORE CENTER STAGE 5 SETTING TIME: 1869 LOCATION: On boats.

By Sabine Decatur, Artistic Fellow LET’S UNPACK!

The real-life saga of John Wesley Powell’s Men on Boats journey nestles at the core of American identity, alongside other colonial explorers like Lewis and Clark and Christopher Columbus and Davy Crockett: an embodiment of the mythology of manifest destiny. But like so many of the historical narratives we’ve inherited, Powell’s version of the story comes with some serious baggage. Who controls the narrative? How are they framing it? Can we use satire to reimagine history? We shore can!

In Powell’s journals, we read about the But what could happen if we thought wild adventures, the waterfalls, the differently about our history? Even wonders of America! But what we don’t with an incomplete archive, what can see are the women who fought in the we do, in scholar Saidiya Hartman’s Civil War and the Mexican Revolution. words, “both to tell an impossible story We don’t see the black cowboys who and to amplify the impossibility of its had been crisscrossing the country telling”? One place to start might be on horseback all through the 19th reading indigenous perspectives like century. We don’t see the rich and Roxane Dunbar-Ortiz’s An Indigenous deep histories of the many indigenous Peoples’ History of the United States. populations that have called this Another is satire—like Men on Boats! By land home long before Powell and telling a story that lets the audience his crew “discovered” it. Our memory fill in the blanks, we get to play with of this history leaves huge gaps, and history and make comedy out of that is no accident; white men stay at challenging narratives. the center of defining American myths, Just like Powell's expedition, and everyone else is removed, erased, reimagining our own history is a and relegated to the gaping holes of mammoth task. What do we take with the archive.

6 BALTIMORE CENTER STAGE First camp of the John Wesley Powell expedition.

us on this journey? What stories do we tell ourselves about Baltimore? How do we intersect with colonization today? Let’s unpack.

Baltimore was “Just Around the Riverbend”

In 1995, Disney released the film Matoaka wasn't mentioned in his first Pocahontas, popularizing a version publications in 1608 or 1612, but by of the story of the British colonization the time he published his 1624 book of the mid-Atlantic. In the movie, John “The Generall Historie of Virginia,” the Smith clashes with the Powhatan tribe story had become more and more until a young Native woman—in real embellished; it is still debated today if life named Matoaka—opens his eyes to there is any validity in his archives. the “colors of the wind.” Smith’s myths about Matoaka don’t A notable part of the story that the film just throw our historical memory into skips over is John Smith’s expedition question. They also continue to feed through the Chesapeake that led into the oversexualization of indigenous him right up the Patapsco River to women and directly contribute to the Baltimore. Part of his mandate on this high rates of violence that indigenous journey was to explore the area and women experience today. report back to the King to encourage investment in the colonies.

BALTIMORE CENTER STAGE 7 SO YOU WANT TO NAME IT AFTER YOURSELF? Maybe Knot

Baltimore Center Stage is located on a street named for George Calvert, a British colonial politician and investor who was instrumental in the expansion of the British empire. As he gained GEORGE more political power—eventually CALVERT becoming a key secretary of state—he (AKA LORD became more and more interested B A LT IM O R E ) in England’s conquests of the “New World.” In 1623 when he fumbled an important diplomatic marriage, he resigned from his office. Despite the downturn in his career, he was named Lord Baltimore, a title that did not come with new political power, but did come with a nice manor in Ireland. Without a job, he had more time to focus on colonizing North America, turning his attention to “New Found Land” in what we now know as Canada. But upon finding Canada’s chilly weather unpleasant, he petitioned for a sunnier location in the mid-Atlantic that John Smith spoke so highly of. Calvert never made it to Maryland, but he sent his son and all of the generations to follow to colonize the area that we occupy today. Despite never stepping foot onto this land, Calvert made sure he was well-represented here, putting his name on this street and on the entire city of Baltimore. FUN FACT: The Calvert family coat-of-arms is featured on Maryland’s unique state flag.

8 BALTIMORE CENTER STAGE Oars Up! * hicCUP*

Period replica of the 1633 Dove sailing ship, which along with the Ark brought the first settlers to the Maryland Colony, in what is now St. Mary's City, Maryland.

OH HOW THE YULETIDES HAVE TURNED America has a long tradition of establishing new settlements in response to religious persecution. In Men on Boats, it’s the Mormons; in Baltimore, it was the Jesuits. Baltimore Center Stage’s own building even housed iconic Jesuit school Loyola High School and College. The history of Jesuits in this city goes back to the arrival of the Ark and the Dove, the first ships of colonizers sent from England in 1633. One of Calvert’s primary goals in establishing this colony was creating a haven for English Catholics, so this first group included many Jesuits. On their trip, they made it their mission to convert the indigenous folks they encountered to Catholicism, continuing a long-lasting legacy of forced assimilation and erasure of indigenous cultures.

After making it to the mid-Atlantic mostly unscathed (although they did lose a dozen men due to excessive drinking during their Christmas festivities), the Jesuits needed to fund their conversion activities, so they began farming. Their plantations were some of the first and biggest in Maryland, and made the Jesuits the most significant slaveholders in the state.

BALTIMORE CENTER STAGE 9 HELLO UNIVERSE, YOU'RE NEXT!

COLONIZATION TODAY By Sam Morreale, Artistic Fellow

My destiny, I feel it manifesting Though it’s easy to think colonization is a historical act left in the tales we tell about John Wesley Powell, there are still many ongoing impacts in the culture of the United States.

Can you think of one contemporary Space Exploration Technologies manifestation of colonial structure (SpaceX), a company founded by operating in Baltimore City? Elon Musk, has the mission of making You guessed it! Gentrification is the “spacefaring” a tangible reality for name of the game. According to human civilization, imagining a world Dr. Lawrence Brown of Morgan State where humans are a “multi-planet University, “The telltale sign of this species.” Their first goal: Mars. Given neocolonial activity, this new Manifest the enormous costs associated with Destiny, is that the future development space travel, who will actually be doesn’t include folks who were included? How does the impulse to displaced and the character—even take on space parallel the western the name of the cleared area—is impulse to “discover” new lands? changed in the ultimate act of erasure.”

10 BALTIMORE CENTER STAGE WATER we wading for? Since its full “discovery,” the Colorado River has been manipulated via 26 dams (most notably the Hoover Dam) as well as many canals and irrigation systems. This, of course, has had drastic impact on the ecosystems which thrive off the river. The Colorado now supports the livelihood of approximately 40 million people. But at what cost? Water levels have been so low in the last 50 years that water has only reached the mouth of the river in the Gulf of California a handful of times since 1963. Like the indigenous characters who men on boats encounter satirically say, “that enough for you?”

And what about the water right here in Baltimore? Have you heard of the Atlantic Coast Pipeline or the proposed Potomac Pipeline? These infrastructures would have direct impact on the water system we use every day. Want to get involved or know more? We suggest visiting the websites for the Chesapeake Bay Foundation and the Chesapeake Climate Action Network and always supporting indigenous-led BEFORE organizing for water protection.

AFTER

You can also find out more by checking out our TAKE ACTION corner in the lobby!

BALTIMORE CENTER STAGE 11 “They let us keep our birth lands, so we were pretty stoked” —from Men on Boats

By Annalisa Dias, Director of Artistic Partnerships & Innovation Since the time of Powell’s expedition in 1896, Ute territory has been restricted over and over again through a series of coercive negotiations, broken treaties, and racist legislation. In the play, the painful irony of these types of situations is hilariously satirized when Chief Tsauwiat and The Bishop encounter the band of colonial explorers.

TODAY, THERE ARE SEVEN BANDS OF UTE PEOPLES WHO ARE STILL HERE AND THRIVING.

“How then can US society come to terms with its past? How can it acknowledge responsibility? The late Native historian Jack Forbes always stressed that while living persons are not responsible for what their ancestors did, they are responsible for the society they live in, which is a product of that past. Assuming this responsibility provides a means of survival and liberation.” —Roxanne Dunbar-Ortiz, An Indigenous Peoples’ History of the United States

12 BALTIMORE CENTER STAGE THIS LAST LAUGH'S ON US By Sabine Decatur, Artistic Fellow

What happens to us when we laugh? It is no coincidence that in today’s popular culture, we are surrounded by satire—SNL, Samantha Bee, the Onion, the latest Netflix stand-up special, all of meme culture—and theater is no exception. Comedy in performance is a long tradition that has been used to speak back against oppressive systems. Men on Boats anchors itself in this canon.

Jaclyn Backhaus’ “men” emerge from clowns on the streets of Italy were a storied comedic lineage that goes using comedy to insult and critique back to ancient times. their French Imperial rulers.

According to the Smithsonian’s Linda Many of theater’s classics are rooted Rodriguez McRobbie, “Clowns, as in this tradition too. From Aristophanes pranksters, jesters, jokers, harlequins, to Ionesco to Beckett to Brecht, and mythologized tricksters have comedy shows up all throughout been around for ages. They appear theater history textbooks as a way in most cultures—Pygmy clowns made to point towards existential dread, Egyptian pharaohs laugh in 2500 BCE; sociopolitical hypocrisy, and the in ancient imperial China, a court audience’s own complicity in all of it. clown called YuSze was, according to Time and time again, laughter opens the lore, the only guy who could poke up the space for audiences to engage holes in Emperor Qin Shih Huang’s with serious issues differently. plan to paint the Great Wall of Of course in 2019, comedy is a China; Hopi Native Americans had a lifestyle. If we’re not getting our news tradition of clown-like characters who from The Daily Show, we’re getting it interrupted serious dance rituals with 140 characters at a time from ironic ludicrous antics. Ancient Rome’s clown memes or snappy Tweets. And this was a stock fool called the stupidus; isn’t just because millennials are the court jesters of medieval Europe ruining pop culture—it’s because pop were a sanctioned way for people culture is tapping into the power of under the feudal thumb to laugh at the comedy. When faced with existential guys in charge.” issues like climate change or racism Clowns have been the truth tellers of or hilariously distorted histories like many cultures, using masks and jokes John Wesley Powell’s, maybe laughter to reflect society’s biggest problems is the best medicine. If we use it wisely, back to itself. In 1797, Napoleon even maybe, just maybe, comedy could outlawed commedia dell’arte as save the world.

BALTIMORE CENTER STAGE 13 THE CAST

Ceci Fernandez Haruna Lee John Wesley Powell Old Shady Ceci Fernandez is a Brooklyn- Haruna Lee is a Taiwanese- based actor, writer and Japanese-American theater producer. As an actor, she maker whose work is rooted has worked on stages all in a liberation-based healing over the world, most notably practice while committed to at The Public Theater, New promoting arts activism and York Theater Workshop, Yale emergent strategies through Repertory and The Old Vic ethical and process-based Theater Royal. TV and digital collaborations. Recent plays credits include The Good by Lee include Suicide Forest Wife, The Exorcist, Temporary CECI FERNANDEZ (published by 53rd State Guardian, and Dichos. She’s Press), plural (love), and the co-creator and head writer Memory Retrograde. As a at @InstaMiniSeries where she performer, they’ve worked produces digital content. She with Aya Ogawa, Minor received her MFA from The Yale Theater, The Drunkard’s Wife, School of Drama, is a member of Ralph Lee, Yoshiko Chuma, New Neighborhood and proud Shirotama Hitsujiya & Trista recipient of the CubaOne Baldwin, Taylor Mac, Mac Fellowship. @itscecifernandez Wellman, David Lang, Dave Malloy, Rachel Chavkin, Kai Heath César Alvarez, Kate Benson & Lee Sunday Evans, and Hall Anohni- among many others. Kai Heath hails from Harlem, KAI HEATH They currently teach at NYU NYC. This is her Baltimore Experimental Theater Wing. Center Stage debut. Off harunalee.com Broadway theatre credits include Messenger in The Keren Lugo Public Theater’s Shakespeare in the Park. Regional credits O.G. Howland/Tsauwiat Averie in Dot (People’s Light New York Theater credits: Theater) Rutgers Theater Privacy (The Public Theater), Company credits include: Actually, We’re Fucked (Cherry Falstaff in Henry IV, Dr. Larch Lane Theatre), Two Mile Hollow in Cider House Rules, Part Two (Women’s Project), Sehnsucht and Hotspur in Henry IV: Part (JACK). Regional: Girls (Yale One at Shakespeare’s Globe Repertory Theater), Water (instagram @harlemkai). HARUNA LEE by The Spoonful (Mark Taper Forum), Scenes From Court Life (Yale Repertory Theatre), Women of Padilla (Two River Theater), Henry V, Our Town (Chautauqua Theater Festival). TV: New Amsterdam (NBC), Orange is the New Black (Netflix), The Americans (FX). Education: MFA NYU Graduate Acting. Keren is beyond proud

14 BALTIMORE CENTER STAGE to have been born and raised Center Stage debut! in Puerto Rico. www.saraporkalob.com

Patrena Murray Jessica Ranville John Colton Sumner William Dunn Off-Broadway: Daryl Roth Baltimore Center Stage Theater: Gloria: A Life. NLTP: KEREN LUGO debut. Off-Broadway: Stupid The hollower. The Public F*cking Bird (u/s). Jessica has Theater: Masculinity Max, worked with NY Stage & Film, The Winter’s Tale (MU), The The Drama League, LaMama, Delacorte: A Midsummer’s Night The New Ohio, Brooklyn Dream. Signature Theatre Arts Exchange, Amerinda, Company: Venus & The Death Spiderwoman Theatre, Our of the Last Black Man in the Voices Theatre, IBEX Puppetry, Whole Entire World a.k.a The NYMF, and NY Shakespeare Negro Book of the Dead. Exchange. MFA: The New REGIONAL: McCarter Theatre: School for Drama. Jessica is Gloria: A Life. Shakespeare Métis (Saulteaux Ojibway) Theatre Company: The from Winnipeg, Manitoba. Oresteia, Mark Taper Forum: jessicaranville.com Father Comes Home from the PATRENA MURRAY IG: jessicaranville Wars (parts 1, 2, & 3), A.R.T.: Gloria: A Life, Father Comes Eileen Rivera Home from the Wars (parts 1, 2, Seneca Howland/The Bishop & 3). FILM: (short) Daddy. T.V: Eileen Rivera is thrilled to The Sopranos, Law & Order. return to BCS where she performed in The White Snake Sara Porkalob and It’s a Wonderful Life: A Hawkins Live Radio Play. Other DC Sara Porkalob is a theatre- area: Tiger Style! at Olney activist and creator of the Theatre Center, Vietgone at Dragon Cycle, a trilogy of Studio Theatre. Off-Broadway plays about her Filipino (partial list): Beast (NYTW), gangster family. The first in SARA PORKALOB Dogeaters (The Public), A Fable the cycle, Dragon Lady, won (Rattlestick Playwrights Co.), three 2018 Gregory Awards King Lear (Cherry Lane Mentor for Outstanding Sound/Music Project). Regional (partial Design, Outstanding Actress list): The Hour of Great Mercy in a Musical, and Outstanding (Diversionary, San Diego), The Musical Production. The Long Season (Perseverance; second in the cycle, Dragon Juneau, Alaska), The Comfort Mama, premiered at American Team (Virginia Stage Co.). Film: Repertory Theatre (ART) and Mildred, Daughter of Venus; won two 2019 Elliot Norton The Barrelman Caper. TV: Law Awards for Best Original Script & Order, Law & Order: Criminal and Best Solo Performance. Intent. Learn more at ART has commissioned her www.eileenrivera.com to finish the third in the cycle, JESSICA RANVILLE Dragon Baby. She’s thrilled to be making her Baltimore

BALTIMORE CENTER STAGE 15 THE CAST

Elena Urdaneta Bradley Elena Urdaneta is a Washington DC native, currently based in NYC. Previous credits include The Wolves at Dallas Theatre Center, Julius Caesar (Shakespeare’s Globe); Rutgers, Mason Gross School of the Arts credits include Blood Wedding (the Girl), Julius Caesar, A Dream Play, Five EILEEN RIVERA Times in One Night.

Natalie Woolams-Torres Frank Goodman/Mr. Asa Natalie is a proud Dominican American and native New Yorker hailing from the Upper Baltimore Center Stage operates West side. Natalie’s theater under an agreement between LORT and Actors’ Equity Association, the credits include the original cast union of professional actors and production of Tiny Beautiful stage managers in the United States. Things directed by Tommy Kail at The Public Theater and Pasadena Playhouse. Other NY Public Theater Credits: Hamlet, ELENA URDANETA directed by Patricia The Director and Choreographer are McGregor, A Midsummer Night’s members of the Society of Stage Directors and Choreographers, Inc., Dream directed by Jenny an independent national labor union. Koons. Shakespeare in the Park credits include Comedy of Errors directed by Daniel Sullivan, the all-female Taming of The Shrew directed by Phyllida Lloyd, and Julius Caesar directed by The scenic, costume, lighting, and Oskar Eustis. Film credits sound designers in LORT theaters include Farewell directed by are represented by United Scenic Artists, Local USA-829 of the IATSE. actor Chris Chalk. TV credits include Difficult People (Hulu). NATALIE WOOLAMS-TORRES Upcoming: Room 104, Season 4 (HBO), HIGH MAINTENANCE, Baltimore Center Stage is a Season 4 (HBO). She attended constituent of Theatre Communications Group (TCG), the SUNY Purchase Theater Arts national organization for the and Film. @personatalie_ave nonprofit professional theater, and is a member of the League of Resident Theatres (LORT), the national collective bargaining organization of professional regional theaters.

16 BALTIMORE CENTER STAGE THE ARTISTIC TEAM Jaclyn Backhaus Repertory Theater), Instant Louisville, Clubbed Thumb, Playwright SPKRBOX (SPKRBOX Festival 3LD, Lee Strasberg Institute, Jaclyn Backhaus is a commission, Norway), Gimme LAByrinth Theater, Rising Circle playwright and co-founder Shelter (Why Not Theatre, Theater Collective, Big Apple of Fresh Ground Pepper. Toronto 2015 Pan Am Games), Circus, NYU Steinhardt and Her play Men on Boats was and A Sucker Emcee (LAByrinth New Dramatists. She’s also a NYT Critics’ Pick (Off- Theater Company). Jenny wrapped up Bello Mania at Broadway, Clubbed Thumb was co-curator of the 2016 the New Victory Theater on and Playwrights Horizons) after Toronto ThisGen Conference 42nd St. She has also worked starting in Clubbed Thumb’s and co-founder of Artists 4 on two Broadway Bound Summerworks, and was a Change NYC (National Black workshops: The Donna Summer Kilroys play in 2015. Other works Theatre). She is a proud 2017 Project (La Jolla Playhouse) include People Doing Math Live! Lilly Award recipient who grew and Ain’t Too Proud (Berkeley (Under The Radar Festival’s up in Minneapolis and the Rep). Danielle also worked on INCOMING! Series at The mountains of Montana. For Bill Michael Kors’ fashion show in Public Theater), The Incredible Baker, Yellowstone national Shanghai, China. Fox Sisters (Live Source), You Park ranger and memories of On The Moors Now (Theater the Beartooth Mountains. Danielle Zandri Reconstruction Ensemble, The Stage Manager Hypocrites Theater Chicago), Ruth Anne Watkins Danielle is a New York based Bull’s Hollow (Ars Nova), and Production Stage Manager stage manager, thrilled to be the musical Folk Wandering. When not stage managing, Ruth doing her first production with She has received commissions serves as the Associate Baltimore Center Stage! New from Playwrights Horizons Production Manager at BCS. York credits include stage and Ars Nova and is the 2016 Prior credits: Shanghai managing at The New School Tow Foundation Playwright- Disneyland Resort, Spoleto and Only Yesterday at 59E59 in-Residence at Clubbed Festival USA, The Kennedy Theaters. Regional credits Thumb. Her work has been Center, Studio Theatre, Theater include stage managing at developed and showcased with J, Olney Theatre, The Clarice, Northern Stage, Merrimack the Bonnaroo Music and Arts HERE Arts Center (New York), Repertory Theatre, The Walnut Festival, Playwrights Horizons, Kilkis Mime and Puppetry The Public and Joe’s Pub, The Festival, Istanbul International Street Theatre and Trinity Ice Factory Festival, (not just) Puppetry Festival. She is a Repertory Company. Touring 3 New Plays, The Civilians R&D proud member of Pointless credits: The Bodyguard- First Group, SPACE on Ryder Farm, Theatre Company in DC. National Tour, and Menopause Ars Nova’s ANT Fest, and The Education—BA, BS: University of the Musical. Danielle has also Falcons. BFA: NYU. She hails Maryland, College Park worked many summer seasons from Phoenix, Arizona. (Theater, Marketing). at the Weston Playhouse, doing such highlights as Million Jenny Koons Danielle Teague-Daniels Dollar Quartet and Once. She Director BCS Resident Stage Manager is sending endless thanks and love to her family and friends Recent projects: Blue Man Baltimore Center Stage: Miss who have supported her living Group Speechless (new You Like Hell, How to Catch her dreams. national tour), Between Us: The Creation, A Wonder in my Soul, Deck of Cards (Denver Center Cat on a Hot Tin Roof, SOUL Cathy Hwang for the Performing Arts), The The Stax Musical, The Christians. Tempest (The Juilliard School), For the past 18 years, she has Assistant Stage Manager A Midsummer Night’s Dream worked and reprised her role Baltimore Center Stage: (The Public Theater Mobile as SM with many companies Thoughts of a Colored Man, King Unit), Burn All Night (American including: Actors Theatre of of the Yees. Regional: Goodman

BALTIMORE CENTER STAGE 17 THE ARTISTIC TEAM

Theatre, Chicago Fredrik Design Fellowship. Theatre Workshop, Guthrie Shakespeare Theater, South www.stephanieosincohen.com. Theater, American Repertory Coast Repertory, Utah Theatre, Williamstown Theater Shakespeare Festival, The Old Hahnji Jang Festival, Steppenwolf Theatre, Globe, The Shakespeare Costume Design Signature Theatre, Oregon Shakespeare Festival, Soho Theatre of New Jersey, Cirque Hahnji Jang is a Brooklyn- Rep, Huntington Theatre, du Soleil, Mill Mountain Theatre, based costume designer Shakespeare Theatre and New Century Theatre. and ethical stylist. She Company, Woolly Mammoth, Education—BA: Smith College is excited to be a part of Ford’s Theatre, Folger Theatre, (Theater). the Men on Boats adventure. Arena Stage, Alliance Selected projects include Theatre, Children’s Theatre of Josie R. Felt The Public Mobile Unit’s A Charlotte, National Gallery of Assistant Stage Manager Midsummer Night’s Dream, Art, Bonnaroo Music Festival, Baltimore Center Stage: Miss new play Incident at Hidden Okeechobee Music Festival, You Like Hell Regional: Rep Temple, political play No-No the Center for Puppetry Arts, Stage: The 39 Steps; Boy, and the upcoming premier and others. She has produced Shakespeare Theatre of the translated My Sister podcasts and written music for Company: Vanity Fair; Studio Mokrahn. hahnjijang.com Theatre: If I Forget, Vietgone, NPR, CNN, Audible, WGBH, Wig Out; Theatre J: Becoming Stacey Derosier WFMT/Glimmerglass, Wondery, and others. Education: New Dr. Ruth; The Second City: Twist Lighting Designer York University, North Carolina Your Dickens; Mosaic Theater: Credits include: for all the Satchmo at the Waldorf; A.C.T.: School of the Arts. women who thought they www.elishebaittoop.com A Christmas Carol, Love and were Mad (Soho Rep), White Information, Mr. Burns A Noise conceived by Daniel Rebecca Feldman, CSA Post-Electric Play. TRAINING: Fish (NYU Skirball), Novenas Casting University of Maryland, College for a Lost Hospital (Rattlestick Park: BA in Stage Management. Playwright’s Theater), No Seven years as Casting One is Forgotten (Rattlestick Associate/Assistant at the Stephanie Osin Cohen Playwright’s Theater), the Public Theater (NYC), working Scenic Designer bandaged place (NYSAF directly on over 50 mainstage is a NYC-based scenic Powerhouse), Playing productions and over 100 designer. Credits Include: This Hot! (Pipeline Theater readings. In addition to work at American Wife (Next Door Company), The Climb (Cherry the Public: Off-Broadway (as at New York Theater Lane - Mentor Project), Mies Casting Director): The View Workshop); Good Faith (Yale Julie & Dance of Death (Classic UpStairs (Scott Ebersold). Repertory Theater); Circle Stage Company), Lewiston/ Broadway (as Casting Jerk (workshop at Ars Clarkston (Rattlestick Associate or Assistant): The Nova); Winter’s Tale, Playwright’s Theater), The Inheritance (Stephen Daldry); Coriolanus (Shakespeare Revolving Cycles Truly & The Iceman Cometh (George C. Academy @ Stratford); Mrs. Steadily Roll’d (Playwright’s Wolfe); Shuffle Along (George Stern Wanders the Prussian Realm), 1969: The Second C. Wolfe), A Delicate Balance State Library (Luna Man (3rd Place Projects) as (Pam MacKinnon), A Raisin in the Stage); Ni Mi Madre (Sea co-lighting designer) & the 2018 Sun (Kenny Leon), Lucky Guy Festival, NY); Pentecost, Lilly Award recipient of the (George C. Wolfe). London (as Much Ado About Nothing, Daryl Roth Prize. Casting Associate): The Lear, Avital (Yale School of Inheritance (Young Vic and Drama); Candace (American Elisheba Ittoop West End, dir. Stephen Daldry). Pavilion selection at Sound Design/Original Music Film (as Casting Assistant): Lady Bird (Greta Gerwig). Cannes Film Festival) Home Her designs and original Other select Casting Director Exercise (short film presented music have been heard at credits include: Women's at MoMA as part of the NYFF). The Kennedy Center, The Project Theater Lab Pipeline Stephanie received her MFA Public Theater, Playwrights Festival (2018), bimonthly from Yale School of Drama. Horizons, Manhattan Theatre reading series for The LGBT She is a Fulbright Scholar, and Club, MCC, New York recipient of the 2019 Burry Center & Tom Kirdahy

18 BALTIMORE CENTER STAGE Productions, Normativity (NYMF), Beardo (Pipeline Theatre Company).

Ada Karamanyan Casting (she/her or they/them) is a casting professional based out of Brooklyn, NY. She currently serves as the casting associate for The Playwrights Realm, and as a producing artistic leader for the fellowship program Trans Lab alongside Artwork by KAL co-founders MJ Kaufman and Kit Yan. She recently served as a casting associate for Baltimore Center Stage’s production of Quiara Alegría Hudes and Erin McKeown’s Miss You Like Hell, directed by Rebecca Martínez, and as Pendulum Pilsner casting director for the upcoming Tell Tale Heart IPA co-production of Noah Diaz’ Richard & Annabel Lee White Jane & Dick & Sally, directed by Taylor The Raven Special Lager Reynolds. This past Spring, Ada had the Dark Usher Kölsch distinct privilege of singlehandedly The Cask (of Amontillado) casting Shakespeare’s entire canon for Play On Shakespeare’s Play On! Festival, in collaboration with Oregon RavenBeer.com Shakespeare Festival and Classic Stage Company. Other affiliations include casting for Island Shakespeare Festival, Milwaukee Repertory Theater, Arizona Theatre Co, New York Musical Festival, New York Theater Workshop (2017-2018 administrative fellow in casting), and Arizona Theatre Company—A Contemporary Theatre.

Toni Rae Salmi Assistant Director Toni Rae Salmi is thrilled to be working at Center Stage for the first time. Directing credits include I Am Her (Bee the Change, LLC), Measure for Measure (Cincinnati Shakespeare), Bondage, Carol's Christmas, and Use All Available Doors (Pinky Swear Productions). She was recently seen in American Spies and Other Homegrown Fables for Hub Theatre. Toni Rae has an MA in Theatre from Miami University and an MA in Arts Management from American University.

Members of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.

BALTIMORE CENTER STAGE 19 INDIVIDUALS AND FOUNDATIONS THANK YOU! The following list includes gifts of $250 or more made to the Baltimore Center Stage Annual Fund July 1, 2018 through November 1, 2019. Although space limitations make it impossible for us to list everyone who helps fund our artistic, education, and community programs, we are enormously grateful to those who contribute to Baltimore Center Stage. We couldn’t do it without you!

The Center Stage Society William G. Baker Jr. Keith Lee represents individual donors Memorial Fund who, through their annual Robert E. Meyerhoff and Rheda Becker contributions of $1,500 or ARTISTS CIRCLE more, provide special ($10,000-$24,999) J. William Murray opportunities for our artists and audiences. Society The William L. and Charles E. Noell III members are actively involved Victorine Q. Adams Pearlstone Family Fund through special events, Foundation theater-related travel, Paul M. Angell Family Judy and Scott Phares and behind-the-scenes Foundation conversations with Dave and Chris Powell theater artists. Peter and Millicent Bain Michele Speaks and The Bunting Family David Warnock SEASON SPONSORS Foundation ($50,000+) Joe Timmins and Jodie Kristy Ellen and Ed Bernard Mary Catherine Bunting Thomas Wilson Sanitarium for Lynn Deering Stephanie and Ashton Carter the Children of Baltimore City Doris Duke Charitable Helen P. Denit Foundation Charitable Trust PLAYWRIGHTS CIRCLE ($5,000-$9,999) Jane and Larry Droppa Walter B. Doggett III and Anonymous The Andrew W. Mellon Joanne Doggett Foundation Susan and Craig Bancroft Nancy Dorman and Joseph and Harvey Stanley Mazaroff Taunya Lovell Banks Meyerhoff Charitable Funds Brian M. and Denise H. Eakes Bradie Barr and Tollie Miller Terry H. Morgenthaler and Juliet A. Eurich and Bloomberg Philanthropies Patrick Kerins Louis B. Thalheimer Elizabeth and Mariah Bonner Lynn and Philip Rauch Beth and Michael Falcone Winnie and Neal Borden, The The Shubert Foundation, Harry L. Gladding Foundation Inc. Daniel and Lori Gahagan James T. and Sandra Levi Gerstung PRODUCERS CIRCLE Francine G. Brady ($25,000-$49,999) The Goldsmith Family Sylvia and Eddie Brown Penny Bank Foundation The Annie E. Casey Foundation James and Janet Clauson Laverna Hahn Charitable Trust Melissa and Augie Chiasera Kathleen Hyle Rebecca Henry and The Jane and Sandy Liotta and Worth B. Daniels, Jr. Fund Carl Osterman Harry Gruner Delaplaine Foundation Ken and Elizabeth Lundeen Wendy Jachman and Jeffrey Scherr Megan M. Gillick George and Betsy Sherman Francie and John Keenan Fredye and Adam Gross Sharon and Jay Smith Townsend and Bob Kent Hecht-Levi Foundation

20 BALTIMORE CENTER STAGE THANK YOU! Patricia and Mark Joseph, Chris and Wendy Jeffries Andrea and Samuel Fine†, in The Shelter Foundation memory of Carole Goldberg Rodica Johnson The John J. Leidy Foundation Dr. Matthew Freedman and Daniel and Marcelle Kenney Dr. Gladys Arak Freedman John and Kim McCardell Francine and Allan Krumholz Dr. Neil Goldberg, in memory of Carole S. Goldberg Laurie McDonald Jim and Mary Miller James Grant Carol Morris and Kim Hugh and Leanne Mohler Hourihan F. Barton Harvey and Jill and Darren Pratt Janet Marie Smith Paddy and Chuck Morton Valerie and Hutch Robbins Rachel and Ian Heavers Mark and Joanne Pollak Michelle and Nathan Robertson David Hodnett Dorothy Powe, Renee Samuels and Len and Betsy Homer in memory of Ethel J. Holliday Jordan Rosenfeld James and Rosemary Hormuth Nora Roberts Foundation Charles and Leslie Schwabe Joseph J. Jaffa Dana and Matthew Slater, in Barbara Payne Shelton Murray Kappelman† honor of Terry Morgenthaler Terri and Bob Smith Barry Kropf Michael B. Styer Scott and Mimi Somerville Andrea Laporte Donald and Mariana Thoms Scot T. Spencer The Linehan Family Foundation Department of VSA and Gilbert H. Stewart and Diane Markman Accessibility at the Joyce L. Ulrich John F. Kennedy Center The Morris A. and Clarisse George and Holly Stone Mechanic Foundation Loren and Judy† Western Harry and Carey Thomasian Mid Atlantic Arts Foundation Ted and Mary Jo Wiese Ellen J. Remsen Webb and Faith and Ted Millspaugh J.W. Thompson Webb John and Susan Nehra DIRECTORS CIRCLE Cheryl Hudgins Williams and ($2,500-$4,999) Alonza Williams Michael and Cristina Niccolini Anonymous Lee and Marilyn Ogburn Todd M. Wilson and The Lois and Irving Blum Edward Delaplaine II Rollins-Luetkemeyer Foundation Foundation Dr. Richard H. Worsham and Michael Ross Meredith and Adam Borden Ms. Deborah Geisenkotter Monica and Arnold Sagner Patricia Yevics-Eisenberg and Drs. Joanna and Harry Brandt Barbara and Sig Shapiro Stewart Eisenberg Kevin and Tea Carnell Ida and Joseph Shapiro Diana and Clinton Daly Foundation DESIGNERS CIRCLE Gene DeJackome and ($1,500-$2,499) The Judi and Burr Short Charitable Fund Kim Gingras Anonymous E. Follin Smith Jed Dietz and Julia McMillan Baum Foundation, Scott and Julia Smith Dick Gamper Patricia Baum Bill Van Dyke and Suzan Garabedian Jan Boyce Susan Bridges Donald and Linda Brown Robert and Cheryl Guth Krissie and Dan Verbic The Campbell Foundation Sandra and Thomas Hess Nanny and Jack Warren, in The Caplan Family Foundation Ralph and Claire Hruban honor of Lynn Deering Jane Cooper and Philip Angell David and Elizabeth J. Sydney Wilner Himelfarb Hurwitz The Cordish Family Steve Ziger and Jamie Snead Susan and Steve Immelt B.J. and Bill Cowie

BALTIMORE CENTER STAGE 21 COMPANY The James and Gail Riepe Joan Develin Coley and ($1,000-$1,499) Family Foundation, in honor of Lee Rice Diane Abeloff Lynn Deering Betty and Stephen Cooper John Rybock and Richard and Lisa Blue Margaret O. Cromwell Lee Kappelman Family Fund Bruce Blum Jesse Salazar and Tom Williams David Dardis Leonor and Marc Blum Gail Schulhoff Gwen Davidson John and Carolyn Boitnott Bayinnah Shabazz, M.D. Richard and Lynda Davis Natalie and Paul Burclaff The Earl and Annette Shawe Janice and Robert Davis G. Brian Comes and Family Foundation Raymond Mitchener Lawrie Deering and The Sinsky-Kresser-Racusin Albert DeLoskey, The Joe Coons and Memorial Foundation Deering Family Foundation Victoria Bradley Mr. and Mrs. Robert N. Bruce and Denise Dodson The Honorable and Smelkinson Mrs. E. Stephen Derby Lynne Durbin and J-F Mergen Michael and Karen Smith Linda Eberhart The Eliasberg Family Arun and Shilta Subhas Foundation Sue and Buddy Emerson Carol and Peter Suzdak Deborah and Philip English James DeGraffenreidt and William J. Sweet and Mychelle Farmer Donald M. and Geraldine Mullan Margaret W. Engvall Jose and Ginger Galvez Marc and Diana Terrill Peter and Chris Espenshade Richard and Sharon Gentile, in Michiel van Katwijk and Merle and David Fishman honor of the Center Stage Sandra Stevens Costume Shop Lindsay and Bruce Fleming Mark and Kathryn Vaselkiv Sonny and Laurie Glassner Dr. Neal M. Friedlander and Jean L. Wyman Dr. Virginia K. Adams Goldseker Foundation Eric and Pamela Young Pamela and Jonathan Genn, Stuart and Linda Grossman The Zerhouni Family in honor of Beth Falcone Linda Hambleton Panitz Charitable Foundation David and Abby Gray Richard and Margaret Tom and Barbara Guarnieri Himelfarb ADVOCATES Donald M. and Dorothy W. Kelly and Andre Hunter ($500-$999) Gundlach Benno and Elayne Hurwitz Anonymous Randy and Melissa Guttman Family Foundation Brad and Lindsay Alger Stephen and Melissa Heaver Harriet S. Iglehart Art Seminar Group Betsy and George Hess Kris Jenner and The Mr. and Mrs. Raymond Bank Susan Cummings The A.C. and Penney Hubbard Family Fund Foundation Shirley Kaufman Amy and Bruce Barnett Iodice Family Foundation Deborah Kielty David and Cecilia Beck Peter Jackson Nancy Kochuk and Carl Luty Randi and Adam Benesch James and Hillary Aidus Jacobs Lisa Lampugnale Maureen and Bob Black Jay Jenkins and TJ Hindman, in Fred and Jonna Lazarus Katharine C. Blakeslee honor of Terry Morgenthaler Brad Mendelson Michael Borowitz and Max Jordan John Messmore Barbara Crain Dr. and Mrs. Juan M. Juanteguy Jane and Joe Meyer Mr. and Mrs. A. Stanley Brager, Jr. Bill and Sue Kanter Beverly and John Michel Warren and Eva Brill Richard and Judith Katz Betsy Nelson Michelle Brown Michael and Julia Keelty Bob and Whitney Nye Meredith and Joseph Callanan Roland King and Dr. Bodil Ottesen Mr. and Mrs. Carl F. Christ† Judith Phair King Drs. Ira and Leslie Papel Bill and Bonnie Clarke Neil and Linda Kirschner Jeffrey and Laura Thul Penza Mary Ellen Cohn Joyce and Robert Knodell

22 BALTIMORE CENTER STAGE INDIVIDUALS AND FOUNDATIONS

Myron Terry Koenig Fund for Henry A. and Dorothy L. The Elsa and Stanton Collins Waverly Rosenberg Charitable Fund Thomas and Lara Kopf Ed Rosenfeld and Nancy and Charlie Cook Joseph M. and Judy K. Merry Alterman David and Sara Cooke Langmead Al Russell Carol and Will Cooke Peter Leffman Sheila and Steve Sachs Will Copper Gregory Lehne Shanaysha Sauls Dr. Phyllis Crossen-Richardson Marilyn Leuthold Terry and Stephania Thompson Susan and Joachim Diedrich Kenneth and Christine Lobo Sharon and David Tufaro John Edelmann and The Ethel M. Looram Judy Vandever Jeffrey Love Foundation, Inc. Steve and Lorraine Walker Patricia Egan and Howard and Michelle Lurie John Wessner Peter Hegeman Cathy MacNeil-Hollinger and Dr. and Mrs. Frank R. Witter Paula and Franco Einaudi Mark Hollinger, in honor of Dr. Laurie S. Zabin Hon. Catherine Blake and Stephanie Ybarra Dr. Frank Eisenberg Dr. Frank C. Marino Foundation PATRONS Rhea Feikin, in memory of Robert and Susan Mathias ($250-499) Colgate Salsbury Aida and James Matters Anonymous Faith and Edgar Feingold, in memory of Ron Wilner Venus McDonald and Walter and Rita Abel Ken Plummer Gary Felser and Yasamin Al-Askari Mary L. McGeady Debra Brown Felser Eleanor Allen Lynn McReynolds Dr. Robert P. and The Alsop Family Foundation Janet Fleishman The Montag Family Fund of The Community Foundation for Bernadette Anderson Amy and Scott Frew Greater Atlanta in honor of John and Margaret Angelos Frank and Jane Gabor Beth Falcone Alan M. Arrowsmith, II Claire Galed Clayton and Gabriele Moravec Ayd Transport Mark and Patti Gillen Howard C. Muller and Mike Baker Hal and Pat Gilreath Marauerite E. Muller Charitable Foundation, Inc. Stephanie and Vince Baker Gary Goldstein and Arlene Forastiere George and Beth Murnaghan Karen Bennett Ann Clary Gordon Roger F. Nordquist, Barb and David Bettenhausen Amy Grace and Karen Blood in memory of Joyce C. Ward Drs. George and Valerie Mary Rogers Obrecht and Bigelow George Grose and Amy Macht D.W. Wells Obrecht Garrett and Katherine Bladow Angelo and Donna Guarino Ed and Jo Orser Susan and Michael Brown Michael and Susan Guarnieri Michael and Phyllis Panopoulos Sandra and Thomas Brushart Mary Ann Henderson Fred and Grazina Pearson Charles and Betsy Bryan Sue Hess William and Paula Phillips Dr. and Mrs. Arthur Burnett, II Charlotte Hill Leslie and Gary Plotnick Pamela A. Burney Janet Plum, in memory of Ardath Cade Jeffrey J. Plum The Jim and Anne Cantler Robert E. and Anne L. Prince Memorial Fund Richard and Kathryn Radmer Mary K. Carter Shurndia Reaves Jan Caughlan Cyndy Renoff and Henry and Linda Chen, in George Taler memory of Lysl Sundheim Phoebe Reynolds Sue Lin Chong Joe Rooney and Ian Tresselt, Fronda Cohen Ottenheimer in honor of Del Risberg and Richard Ottenheimer

BALTIMORE CENTER STAGE 23 Mrs. James J. Hill, Jr., Sarah and John Robinson GOVERNMENT GRANTS in memory of James J. Hill, Jr. Wendy S. Rosen, in memory of This performance is supported Barbara and Sam Himmelrich Ronald Wilner in part by the Maryland State Sally and John Isaacs Michael Rosenbaum and Arts Council (msac.org). Amy Kiesel Ann H. Kahan Baltimore County Executive, Pat Karzai, Helmand Restaurant Steven and Lee Sachs County Council, & Commission on Arts and Sciences Alane and George Kimes Beth Schwartz Howard County Arts Council Terri and Mark Kissinger Dr. Cynthia Sears through a grant from Howard Robert Sears David and Ann Koch County Government Dr. Carl Shanholtz and Denise Koch and This performance has been Jackson Phippin Dr. Ruth Horowitz funded by Mayor Jack Young Leslie Shepard William and Kathleen Larson and the Baltimore Office of Dr. and Mrs. Yuan C. Lee John Shettle and Abigail Smith Promotion and The Arts. Dr. and Mrs. George Lentz, Jr. Deborah and Harvey Singer Jill and Mark D. Levin James Smith MATCHING GIFT Dr. and Mrs. Kenneth B. Lewis Dr. Emma J. Stokes COMPANIES Jeanne E. Marsh Gerhard F. Stronkowski The Abell Foundation, Inc. Mary and Barry Menne Szilagyi Family Foundation BGE Mr. and Mrs. Timothy E. Fred and Cindy Thompson Brown Capital Management, Meredith Mary Tod and Inc. Calvin Timmerman Stephanie F. Miller, in honor of The Keith Campbell Foundation the Lee S. Miller Jr. Family Gordon and Charlene Tomaselli for the Environment Tracy Miller and Paul Arnest, in Aaron Tripp and The Annie E. Casey Foundation honor of Stephanie Miller Shoshana Ballew IBM Corporation Michael Milligan Drs. Harold and Robin Tucker Bill and Mimi Mules Arnold and Barbara Illinois Tool Works Foundation Noah and Kate Mumaw Wallenstein JMI Equity Stephen and Terry Needel Dan Watson and Brenda Stone Legg Mason & Co., Inc. Mary Nichols Maria J. Wawer McCormick & Co. Inc. Rachel and Bill Weker Dr. and Mrs. Alex Ober New Enterprise Associates Phillip A. White Claire D. O’Neill Norfolk Southern Foundation P.R.F.B. Charitable Foundation, Kimberly Shorter Oracle in memory of Jack and Beverly Winter PayPal Giving Fund Shirley Feinstein Blum Barry Wohl and Dahlia Hirsch, Patricia Palmer in honor of Carole Goldberg PNC Greater Maryland Ben and Emarie Payne Ken and Linda Woods Stanley Black & Decker, Inc. Linda and Gordon Peltz Chris and Angela Wu, in honor T. Rowe Price Group, Inc. Ron and Pat Pilling of the Cavaluzzi Family Rose Crystal Polatty, Daniel Young and Deborah Designate Center Stage in honor of Whitney Stott King-Young Associates, Inc. as your charity George and Lynn Reeder and to go smile.amazon.com every time you shop at Amazon! Alison and Arnold Richman † deceased Del Risberg We make every effort to provide Jan and Larry Rivitz accurate acknowledgement Jack and Ida Roadhouse of our contributors. To advise us of corrections, please call Samuel Robfogel and Eleanor Frias, in honor of Katherine and 410.986.4026. Scott Bissett

24 BALTIMORE CENTER STAGE THANK YOU

CORPORATIONS: PLAYWRIGHTS CIRCLE ($5,000-$9,999) SEASON SPONSORS ($50,000+) The Annie E. Casey Foundation Caroline Fredericka Holdship Charitable Trust via PNC Charitable Trusts Environmental Reclamation Company Ernst & Young LLP Gallagher Evelius & Jones LLP Greenspring Associates PRODUCERS CIRCLE ($25,000-$49,999) HMS Insurance Associates, Inc. Janney Montgomery Scott LLC Legg Mason & Co., Inc. McGuireWoods LLP Pessin Katz Law P.A. Quinn Evans Architects Saul Ewing Arnstein & Lehr LLP Stifel University of Maryland, Baltimore

Whiting-Turner Contracting Co.

DIRECTORS CIRCLE ($2,500-$4,999) EXECUTIVES CIRCLE ($15,000-$24,999) Ayers Saint Gross Inc. Baxter, Baker, Sidle, Conn & Jones, PA CGA Capital Donohue Hart Thomson Financial Group Howard Bank Slate Capital Group Union Craft Brewing

DESIGNERS CIRCLE ($1,000-$2,499) Chesapeake Plywood, LLC Eagle Coffee Company, Inc Crowe, LLP ezStorage Corporation Fiserv Freedom Car ARTISTS CIRCLE ($10,000-$14,999) Clearview Group Global Telecom Keller Stonebraker Insurance SC&H Group

BALTIMORE CENTER STAGE 25 Capital CAMPAIGN DonoRS We sincerely thank all of our campaign donors for their tremendously generous support. Without their trust and vision, all of the work we have done and continue to do would not be possible. The following includes gifts of $10,000 or more.

$2,000,000+ Jacob and Hilda Guy E. Flynn and Harry L. Gladding Nupur Parekh Flynn Foundation/Winnie and Edward and Ellen Blaustein Foundation Neal Borden Bernard Margaret Hammond Daniel P. Gahagan Cooke (bequest) Fredye and Adam Gross Bart Harvey and Lynn and Tony Deering Janet Marie Smith Marilyn Meyerhoff Cordish Family Hecht-Levi Foundation Foundation Sybil and Donald Hebb State of Maryland Helen P. Denit Nancy Dorman and Charitable Trust Howard Bank $1,000,000– Stanley Mazaroff Stephen and A. C. and Penney $1,999,999 Ben and Wendy Susan Immelt Hubbard Eddie C. and Griswold Wendy Jachman David and Elizabeth C. Sylvia Brown The Hyle Family JH Hurwitz and The Patricia and Mark Himelfarb Family Charlie Noell and Townsend and Bob Kent Joseph, The Shelter KPMG Barbara Voss Earl and Darielle Linehan Foundation John J. Leidy George and Betsy Dr. and Mrs. Murray and Joseph and Harvey Foundation Sherman Meyerhoff Family Joan Kappelman,and London Foundation/ Katherine Vaughns Charitable Funds the Kappelman Family: Lee Kappelman Meredith and (bequest) The Meyerhoff and Karen Mendelsohn Adam Borden Becker Families $500,000-$999,999 Ross Kappelman Macht Philanthropic Middendorf Foundation Lynn Kappelman Fund Anonymous Mary and Jim Miller Francie and John J. S. Plank and D. M. Janet and James J. William Murray Keenan DiCarlo Family Clauson Foundation Judy and Scott Phares Marion I. and Henry J. France-Merrick Knott Foundation PNC Foundation Sheridan Foundation McCormick & Co. Rollins-Luetkemeyer Jay and Sharon Smith Lord Baltimore Capital Ruth Carol Fund Foundation Corporation T. Rowe Price Charles and Leslie Michael Ross Foundation Terry H. Morgenthaler Schwabe Dana and and Patrick J. Kerins Whiting-Turner Ellen J. Remsen Webb Matthew Slater Contracting Co. and J.W. Thompson $250,000–$499,999 Scott and Mimi Webb Somerville Baltimore County $50,000–$99,999 Michele Speaks Jane and Larry Anonymous $25,000–$49,999 Gilbert H. Stewart and Droppa Anonymous Baltimore Gas & Electric Joyce L. Ulrich J.I. Foundation Delbert and Penny Bank Michael B. Styer Kenneth C. and Gina Adams Bunting Family Krissie and Dan Verbic Elizabeth M. Lundeen Foundation Annie E. Casey Foundation Delegate Christopher M&T Bank Mary Catherine Bunting and Anne West Philip and Denise The Pearlstone Family The Caplan Family Andrews Mary Jo and Ted Wiese Lynn and Phil Rauch Foundation, Inc. Clayton Baker Trust Thalheimer-Eurich Stephanie and $10,000–$24,999 Ashton Carter James T. and Anonymous Charitable Trust Francine G. Brady Augie and Melissa Robbye D. Apperson $100,000–$249,999 Chiasera Deering Family Foundation William G. Baker, Jr. Anonymous Suzanne F. Cohen Memorial Fund Walter B. Doggett III Jane W. Daniels Peter and Millicent Bain and Joanne Doggett Bradie Barr and DLA Piper Tollie Miller Baltimore City Ernst & Young Brian and Denise Eakes Richard Berndt Bank of America Robert and Cheryl Guth Katharine Blakeslee

26 BALTIMORE CENTER STAGE Capital CAMPAIGN DonoRS Apprentice DoNors Joseph and Meredith Hugh and Baltimore Center Stage thanks the Callanan Leanne Mohler supporters of the Katherine Vaughns William and Bonnie Sandra Liotta and Apprentice Program for providing recent Clarke Carl Osterman graduates an opportunity to spend the G. Brian Comes and Stephen Richard and Raymond Mitchener Mame Hunt 2019/20 season working with us at BCS. Penelope Cordish Valerie and This program would not be possible Peter de Vos Hutch Robbins without their generosity. James DeGraffenreidt Clair and and Mychelle Farmer Thomas Segal FULL SEASON Jed Dietz and Barbara Payne Shelton APPRENTICE SPONSORSHIPS Julie McMillan Turner and Judy Smith The Peter & Millicent Bain Linda Eberhart, in Scot T. Spencer Production & Stage Management Apprentice memory of William F. William Sweet and The Ellen & Ed Bernard Eberhart Geraldine Mullan Production & Stage Management Apprentice Sandra and Ross Flax Dr. Edgar and The Lynn Deering Dick and Maria Mrs. Betty Sweren Management Apprentice Gamper Harry and Carey The Jane & Larry Droppa Suzan Garabedian Thomasian Audio Apprentice Pamela and Donald and Mariana Jonathan Genn Thoms The Ethel J. Holliday Learning & Social Accountability Apprentice Linda Hambleton Panitz Kathryn and Mark and The Family of T. Vaselkiv The Wendy Jachman & Jeff Scherr Edward Hambleton Daniel Watson and Graphics Apprentice Lee Meyerhoff Hendler Brenda Stone The Sandy Liotta & Carl Osterman and Dr. and Mrs. Freeman A. Ron and Sydney Wilner Kim Hourihan & Carol Morris Artistic Fellow Hrabowski III Todd Wilson and The Kenneth & Elizabeth Lundeen Cheryl Hudgins Edward Delaplaine II Props Apprentice Williams and Alonza Linda Woolf Williams The Terry Morgenthaler & Patrick Kerins Nadia and Elias Costume Apprentice Joseph and Judy Zerhouni Langmead The Judy & Scott Phares Jonna and Fred Digital Marketing and Social Media Apprentice Lazarus The Lynn & Philip Rauch Company Management Apprentice BALTIMORE CENTER STAGE 2016/17 The Dana & Matt Slater RENOVATIONS Special Events Apprentice Architect The Sharon & Jay Smith and Cho Benn Holback Associates Harry Gruner & Rebecca Henry Head Theater Consultants Artistic Fellow Charcoalblue The Gilbert H. Stewart & Joyce L. Ulrich Multi Media Lobby Designs Lighting Apprentice Jared Mezzocchi If you are interested in contributing to Brand Design Pentagram the Apprentice Program, please contact [email protected] or 410.986.4021.

BALTIMORE CENTER STAGE 27 ADVISORY COMMITTEES Baltimore Center Stage has launched two new committees, both helping the theater strengthen relationships and expand programming opportunities. The Family Engagement Committee is focused on creating opportunities for families with school-aged children, working to build the next generation of theatergoers. The Young Professional Engagement Committee is focused on connecting and inspiring young professionals in Baltimore to learn about, attend, and support the theater.

FAMILY ENGAGEMENT COMMITTEE YOUNG PROFESSIONAL ENGAGEMENT Lauren Ades Patricia Hartlove COMMITTEE Penny Bank Jessica Henkin J.C. Beese Arlene Brothers April Hurst Mariah Bonner Meredith Borden Elizabeth Hurwitz, Chair Marc Broady Dana Carr Chris Jeffries Cori Daniel Claire Cianos Sara Langmead Ashley Day Aaron DeGraffenreidt Kate Mumaw Elizabeth Koontz Denise Eakes Sarita Murray Lisa Lance Sara Fidler Laura Wexler Clare Lochary Danielle Frisby Angel Wilder Lindsay Machak Richard Gamper Angela Wu Jordan Rosenfeld, Chair Andrew Giddens Josh Russakis Evan Taylor Tom Whelley

28 BALTIMORE CENTER STAGE We look forward to your next brilliant performance.

KPMG LLP is proud to support Center Stage. kpmg.com

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BALTIMORE CENTER STAGE 29 left to right: Jenny, Steph, Elisheba, Hahnji, and Stacey

A Conversation with imagery, I was interested in how we try to THE DESIGN TEAM depict nature on stage, putting something uncontainable in a space with limitations This production of Men On Boats assembled and boundaries. While our world starts in an incredible team of designers—the key the diorama, it quickly breaks the fourth wall folks who brought the big ideas swirling and becomes a living, growing thing. through this play into what you see on the stage today. Get a glimpse into their unique ELISHEBA: Musically, everything in this design process. show is kind of sparse. Nothing is very lush. Jenny Koons, director That lends to the vastness of it. These big-in- Steph Cohen, set designer their-minds men trying to make their marks Stacey Derosier, lighting designer on the world. Everything is in a minor key; it Elisheba Ittoop, sound designer all feels very lonely. Musically, we’re trying Hahnji Jang, costume designer to get across the idea that they’re just tiny specks in a great big universe. JENNY: We started our process with each designer bringing in images that resonated STACEY: Once we found our diorama with them, which was fun because we didn’t setting, a source of inspiration for my have to be siloed by design element from approach was more images of containing the start. From there, we started with big or controlling of the elements or nature questions and big ideas raised by the play. (Anish Kapoor’s piece Descension & Fujiko It was inspiring to see how threads of similar Nakaya’s fog sculptures). We spoke a lot imagery and thinking were present from first about how much we prepare to go out into impulses and where those surface in the the wild. We think that by organizing gear, final design. For example, Steph’s original we can conquer the environment. I began images with dioramas and ways we frame to think about how the piece begins as a historical events and moments in time really confident exploration tale but breaks out inspired a lot of the final design. of its container as the danger of the water chips away at the order. When we spoke STEPH: One of these big questions Jenny about what water is in this world, many is referring to is about whose stories get things came up—from what does water told. We talked a lot about how we preserve sound like to super soakers—but something history, who gets to tell these stories, and felt important in creating a sense of whose stories go untold. With the diorama disorientation and obfuscation throughout.

30 BALTIMORE CENTER STAGE ARTISTIC CORNER

How can we make the stage of the theater operating under the Buyerarchy of needs— feel compact and menacing. What if we “use what you have, borrow, swap, thrift, can’t see what’s in front of us? make, buy”—which looks to eliminate waste and disrupt the mindset that we need new HAHNJI: In that same vein, I tried to focus things. I wanted to operate as the people my research on what was outside of the in my research did—with limited resources, “diorama frame.” To look for the stories that repurposing items, and borrowing clothing. weren’t told. A lot of the research process was a journey of discovery for me. I started STEPH: One of the most exciting with the actual historical men of the play, discoveries for me has been the incredible then kind of threw that out and researched resources the theater already has. For the who the people around them would be. most part, we are repurposing things that BCS owns. The backdrop and floor are also ELISHEBA: While researching music and worth noting: they both were hand painted sound, I went down a rabbit hole of the music by Erich Starke and his team. These days of Gene Autry—the Singing Cowboy. His we see less and less hand painted scenery, movies were really big in the 30s and 40s, at especially at such a large scale. Because this time of growth within American society, we’re going in this diorama direction, it coming out of World War II etc. So the movies seemed only right to have our 54’ Grand kind of harken back to “simpler times.” It’s Canyon backdrop hand painted, rather him riding on his horse in the Wild West. But than simply being a printed image. The not guns and violence and male bravado; work the shop did is so impressive, and it it’s another form of masculinity that’s yes, was exciting to find a really appropriate rugged, but also very sensitive. Sitting on his opportunity to use this somewhat fading art horse in great vast wilderness, singing about form. women and nature with a full orchestra backing him up. In Men on Boats, there’s HAHNJI: A huge amount of our costume some of that romanticism of the Gene Autry materials are also from the BCS stock, music, but it’s not as lush. A sad romanticism. taking apart and splicing together existing items in the ways these characters would STACEY: A lot of my research also contains have to make them functional. The next the color story of the light in that area of step was to go thrifting. When I first the country. I’m excited to play with the visited the theater I took a walk around seemingly preternatural colors of water, sky, the neighborhood and found several and canyon throughout the piece. thrift stores that we’ve gone back to. I also JENNY: There was a real attention to went to the Baltimore Vintage Expo at impact and how we demonstrate our values Union Craft Brewery. For supplemental in our practice. Hahnji, can you talk a little fabric, we are sourcing from FABSCRAP, about how you’re sourcing costumes? And an organization in Brooklyn that recycles Steph, maybe a bit about how we’re using fashion industry fabric and clothing stock prop and building, rather than solely samples. The items we are buying new are purchasing? sourced from Indigenous designers.

HAHNJI: One of the big themes of the play STEPH: We also sourced from the river! I that we talked a lot about is what kind of joke, but not really. The props department mark we leave behind. I wanted to translate took a field trip to a reservoir nearby, that into how we sourced our clothing. searched for driftwood, and found some One way is to make sure we leave as little gorgeous pieces by the water with the goal environmental impact as possible. We are of transforming them into benches and stools for our world.

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32 BALTIMORE CENTER STAGE MEET THE ARTIST BEHIND OUR SHOW ART!

The artwork that See The Originals represents each of our To see Mirlande’s original six, full- plays this season is more sized collages plus a seventh piece than just the typical commissioned to respond both to show poster—each is a our city and our season, stop by our commissioned work of art by Baltimore- brand new coffee bar, To Bean or based, award-winning collage artist Not to Bean TM™, open 8am-3pm in our Mirlande Jean-Gilles. Drawing newly transformed first floor. With an inspiration from the scripts, Jean-Gilles abundance of comfortable seating, used her signature style to create free wifi, and cozy nooks, To Bean is these original pieces. Our collaboration the perfect place to come together is a celebration of how artists can with friends and colleagues or to inspire each other, creating new forms carve out that quiet time around and expressions that speak to all of the hum and artistic energy of your us. Learn more about Mirlande and professional theater. Who knows who our collaboration at you might bump into! centerstage.org/mirlande. 2019-2020 Season Art is made possible by the William G. Baker, Jr. Memorial Fund, creator of the Baker Artist Portfolios, www.BakerArtist.org

BALTIMORE CENTER STAGE 33 JOIN US FOR THE 2019/20 MAINSTAGEEMBARK SEASON ON A... JOY-FILLED UNAPOLOGETICALLY THEATRICAL CIVICALLY RESONANT IMAGINATIVELY SUBVERSIVE

NEW, BUT FAMILIAR HEARTWARMING

DEEPLY HUMAN ADVENTURE.

34 BALTIMORE CENTER STAGE A PLAY ABOUT FAMILY, AND OTHER INJUSTICES RICHARD & JANE & DICK & SALLY BY NOAH DIAZ DIRECTED BY TAYLOR REYNOLDS CO-PRODUCTION WITH PLAYWRIGHTS REALM FEB 6–MAR 1, 2020 See Richard go. See Spot bark. See Dick cry. See Sally sign. See Jane struggle after a lifetime in her brother’s shadow. The classic world of “Dick and Jane” is beginning to fracture in this witty and raw look into one dysfunctional and dissembling family

WHEN THE DEVIL PAYS HIS RESPECTS WHERE WE STAND BY DONNETTA LAVINIA GRAYS DIRECTED BY TAMILLA WOODARD CO-PRODUCTION WITH WP THEATER APR 2–26, 2020 This brand-new fable of penance is filled with humor, heart, and music. When a town is running low on compassion and a man is stripped of companionship, just one kind stranger can tip the scales. Join in community as one passionate storyteller spins a supernatural tale of loneliness seduced by kindness and asks us “what do we owe each other?”

LIFE IS A PARTY UNTIL HEADS START TO ROLL BAKKHAI BY EURIPIDES A NEW VERSION BY ANNE CARSON DIRECTED BY MIKE DONAHUE APR 30–MAY 24, 2020 hits the This is not your English teacher’s Greek tragedy. Dionysus is totally over your drama, and he’s going to incite the women of the land to raise some hell in the greatest party in recorded history. Closing the season with a political exclamation point from the birthplace of Democracy, Bakkhai Mainstage at the same moment our nation surges into its primary elections.

CENTERSTAGE.ORG BOX OFFICE: 410.332.0033 BALTIMORE CENTER STAGE 35 A PLAY ABOUT FAMILY, AND OTHER INJUSTICES UP NEXT

A PLAY ABOUT FAMILY, AND OTHER INJUSTICES

RICHARD & JANE & DICK & SALLY

BY NOAH DIAZ DIRECTED BY TAYLOR REYNOLDS CO-PRODUCTION WITH PLAYWRIGHTS REALM FEB 6–MAR 1, 2020

See Richard go. See Spot bark. See Dick cry. See Sally sign. See Jane struggle after a lifetime in her brother’s shadow. The classic world of “Dick and Jane” is beginning to fracture in this witty and raw look into one dysfunctional and dissembling family.

GROUPS OF 10 OR MORE SAVE AN AVERAGE OF 20% OFF OF OUR BEST SEATS!

CENTERSTAGE.ORG OR 410.332.0033

BALTIMORE CENTER STAGE 37 2019•20 SEASON

HANDEL MESSIAH SAT, DEC 7, 3 PM • SUN, DEC 8, 3 PM • TICKETS FROM $25* EDWARD POLOCHICK, CONDUCTOR & HARPSICHORD Edward Polochick leads the Orchestra and the BSO Symphonic Chorale in this holiday favorite. VIENNA BOYS CHOIR THU, DEC 12, 7:30 PM • TICKETS FROM $25* MANUEL HUBER, CONDUCTOR The Vienna Boys Choir will fill the Meyerhoff Symphony Hall with angelic charm and pure sounds in a program featuring Austrian folk songs, classical masterpieces, popular songs and, of course, holiday favorites.

The BSO is not performing on this program. ARTISTS

PHOTO: LUKAS BECK CIRQUE NUTCRACKER FRI, DEC 13, 8 PM • SAT, DEC 14, 3 PM • SUN, DEC 15, 3 PM TICKETS FROM $35* Troupe Vertigo’s acrobats, jugglers and high-flying aerialists join the BSO for this spectacular twist on Tchaikovsky’s holiday classic. GOSPEL CHRISTMAS  ­€ CECE WINANS THU, DEC 19, 8 PM • FRI, DEC 20, 8 PM • TICKETS FROM $45 Twelve-time Grammy® Award-winner CeCe Winans joins the BSO and the Morgan State University Choir for a rousing program of gospel and holiday favorites. HOLIDAY SPECTACULAR SAT, DEC 21, 3 PM & 8 PM • TICKETS FROM $35* Broadway musical director Andy Einhorn leads the BSO and the Baltimore Choral Arts Society in an exciting new holiday program highlighted by the ever-popular tap-dancing Santas and an audience sing-along. The Meyerhoff Symphony Hall lobby becomes a winter wonderland with pre-concert performances, a family photo spot and cookies and ornaments for sale. *KIDS 12 & UNDER 50% OFF

Give the gift of music this holiday season with a BSO gift certificate! Available at BSOMUSIC.ORG/GIFT JOSEPH MEYERHOFF SYMPHONY HALL BSOMUSIC.ORG | 410.783.8000 EXCLUSIVE DISCOUNTS FOR GROUPS OF 10+! 410.783.8170

38 BALTIMORE CENTER STAGE WELCOME TO THE FAMILY SERIES: Join us for a year packed full of fun, laughter, and joy for theatergoers of A Holiday tradition—now a musical! all generations. Featuring familiar programs like Backstage at Center ‘TWAS THE NIGHT Stage and Together at the Table, BEFORE CHRISTMAS heartwarming stories for the whole BOOK, MUSIC AND LYRICS BY family, and an exciting lineup of new BRUCE CRAIG MILLER TOURED BY VIRGINIA REPERTORY THEATRE theatrical experiences, the season will be bursting with occasions to learn, SUN, DEC 8, 2019 hang out, and play together. AT 11AM & 1PM ALL AGES

A children’s tale of culture and confidence!

HAVANA HOP WRITTEN AND PERFORMED Not your English teacher’s BY PAIGE HERNANDEZ poetry reading MAY 15, 2020 AT 10:30 & MAYHEM POETS MAY 16 AT 1PM TOURED BY GEODESIC MANAGEMENT, LLC AGES 4 AND UP FEB 2, 2020 AT 1PM & FEB 3 AT 10:30AM AGES 12 AND UP

LEARN MORE: CENTERSTAGE.ORG/FAMILYSERIES

BALTIMORE CENTER STAGE 39 Celebrating the spectrum of artists who have redefined abstraction

The Baltimore Museum of Art September 29, 2019 – January 19, 2020

Tickets at artbma.org/generations

This exhibition is presented by The Helis Foundation and organized by The Baltimore Museum of Art and the Ogden Museum of Southern Art. Contributing sponsorship is provided by The Lambent Foundation and The Holt Family Foundation. The presentation in Baltimore is generously sponsored by The Alvin and Fanny B. Thalheimer Exhibition Endowment Fund, The Ford Foundation, Suzanne F. Cohen Exhibition Fund, The Dorman/Mazaroff Contemporary Endowment Fund, Bank of America, and CareFirst BlueCross BlueShield. Shinique Smith. Black, Blue, Green, Yellow, Orange, Red, Pink (Detail). 2015. The Joyner/Giuffrida Collection. © Shinique Smith, Courtesy David Castillo Gallery. Photography by John Schweikert

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BALTIMORE CENTER STAGE 41 s TA f f

Executive Director Michael Ross Artistic Director Stephanie Ybarra DEVELOPMENT Communications Manager Keva Coles-Benton Director of Advancement ADMINISTRATION Randi Benesch The Wendy Jachman and Jeff Scherr Graphics Apprentice Associate Managing Director Individual Giving Manager Del W. Risberg Sophie Leigh Fisher Sara Kissinger Board Relations & The Judy and Scott Phares Institutional Giving Manager Special Projects Coordinator Digital Apprentice Brandon Hansen David Kanter Jess McGowan Development Assistant The Lynn Deering Kara Powell AUDIENCE RELATIONS Management Apprentice Jacqueline Glenn Special Events Coordinator Box Office Manager Taylor Lamb Kelly Broderick ARTISTIC Corporate Relations Coordinator Subscriptions Manager Director of Artistic Producing Nicole Ringel Jerrilyn Keene Chiara Klein Auction Coordinator Group Sales Administrator & Director of Artistic Partnerships & Sydney Wilner Ticket Services Manager Liz Nelson Innovation Auction Assistant Annalisa Dias Norma Cohen Patron Services Associates Tiffany Brown, Tina Canady, Artistic Administrator The Dana and Matt Slater Melody Easton Jonathan Jacobs, David Kanter, Special Events Apprentice Sarah Lewandowski, Kira-Lynae Company Manager Mira Lamson Klein Pindell, Shelby Sullivan Marshall Garrett Yale School of Drama FINANCE AUDIENCE SERVICES Leadership Fellow Director of Finance AND RENTALS Estefani Castro Michelle Williams Audience Services and The Lynn & Philip Rauch Company Business Manager Events Manager Management Apprentice Janessa Schuster Alec Lawson Alexus Crockett Business Assistant Assistant Audience The Sharon & Jay Smith and Hannah Machon Services Manager Harry Gruner & Rebecca Henry Elizabeth Pillow Artistic Fellow INFORMATION Accessibility Coordinator Sabine Decatur TECHNOLOGIES Bethany Slater The Sandy Liotta & Carl Osterman Director of Information House Managers and Kim Hourihan & Carol Morris Technologies Nick Horan, Lindsay Jacks, Artistic Fellow John Paquette Hannah Kelly, Shubhangi Sam Morreale Kuchibhotla, Faith Savill, Eddie Tessitura Database Coordinator Van Osterom LEARNING AND SOCIAL Madeline Dummerth Bar Manager ACCOUNTABILITY (LSA) MARKETING & Ann Weaver Director of LSA COMMUNICATIONS Bartenders & Baristas Adena Varner Director of Marketing & Danielle Brown, Monica Cook, Boh LSA Coordinator Communications James, Jonay Gant, Jade Jackson, Dani Turner Jonathan K. Waller Val Long, Asia Maxton, Robby LSA Associate Priego, C. Swan Streepy, Whitney Director of Communications & Stott, Scott Van Cleve Jacob Zabawa Strategic Partnerships The Ethel J. Holliday Robyn Murphy Docent Coordinator LSA Apprentice Pat Yevics Art Director Victoria Martin Bill Geenen ASL Interpretation First Chair + HIS Associate Director of Marketing Rafaela Dreisin

42 BALTIMORE CENTER STAGE OPERATIONS PROPERTIES FOR THIS Facilities Supervisor Props Director PRODUCTION Patrick Frate Jeffery Bazemore Draper Facilities Assistant Assistant Properties Master Ginny McKeever Joseph Wisniewski Rachael Pendleton Hair/Wigs Master Craftsman Denise O’Brien PRODUCTION Nathan Scheifele Stitchers Director of Production The Kenneth & Elizabeth Lundeen Bonnie Brummel, Sarah Lamar Cary Gillett Props Apprentice Lights Associate Production Manager Abigail Stuckey Monica Cook , Dante Fields, Ruth Watkins Bevin Gorin, Brandon Richards, SCENERY Will Voorhies, Jack Warner, AUDIO Technical Director C. Swan-Streepy Rob McLeod Audio Director Scenery Amy C. Wedel Assistant Technical Director James Caverly, Andrew Loughrey, Audio Engineer Taylor Neuburger Chester Stacy Justin Vining Scene Shop Supervisor High School Interns– Video/Audio Engineer Frank Lasik Eli Golding, Constantine Santos Kat Pagsolingan Master Carpenter Paint The Jane & Larry Droppa Eric Scharfenberg Leila Spolter, Mallory Porter, Audio Apprentice Scenic Carpenters Raul Duran Abra Clawson Brian Jamal Marshall, Props Sam Martin, Trevor Winter COSTUMES High School Intern– Sean Rath Costume Director SCENIC ART David Burdick Charge Scenic Artist RUN CREW Associate Costumer Erich Starke Wardrobe Ben Argenta Kress STAGE MANAGEMENT Sarah Lamar Craftsperson William E. Crowther Resident Stage Manager Deck Crew Danielle Teague-Daniels Whitney Stott First Hand Ellouise Davis The Peter & Millicent Bain Sound Board Operator Production Management and Stage Abra Clawson The Terry Morgenthaler & Patrick Management Apprentice Kerins Costumes Apprentice Raul Duran John Polles The Ellen & Ed Bernard Production ELECTRICS Management and Stage Management Apprentice Lighting Director Tamar Geist Tori Ujczo

Master Electrician STAGE OPERATIONS Travis Seminara Stage Carpenter Assistant Master Electrician Eric L. Burton Jessica Anderson Wardrobe Supervisor Staff Electrician Linda Cavell Michael Logue The Gilbert H. Stewart and Joyce L. Ulrich Lighting Apprentice Tyler Omundsen

BALTIMORE CENTER STAGE 43 SERVICES fOr Our AuDienCes

DINING Beginning two hours before each ACCESSIBILITY performance, Dooby’s will be serving dinner on MOBILITY the second floor in the Marilyn Meyerhoff Wheelchair-accessible seating is available Mezzanine. A selection of food and snacks for every performance. There is a wheelchair from Atwater's and the Peanut Shoppe is available on the premises. available at our first and fourth floor bars.

DRINKS Drinks from our bars are welcome in the theater; lids are required. Please no food in BLIND/LOW VISION the theater. No outside food or drinks. The Audio Description/Touch Tour performances of Men on Boats take place PHONES & RECORDING Please silence all on Sun, Dec 15 at 2pm. We can also phones and electronic devices before the provide Audio Description services for any show and after intermission. Audio and video performance if given at least seven days recording are strictly forbidden. No notice. Touch Tours present a pre-show photography of any kind is permitted during opportunity to feel props and set pieces on the show. stage. Large print and braille programs are available upon request. BATHROOMS Restrooms are located on first, second, and fourth floors. Baltimore Center Stage is in the process of changing our space to be supportive of gender diversity. All are welcome to use the restroom that best fits DEAF/HEARING LOSS their identity. A single-occupancy restroom is available upon request. Please see a member Closed Captioning is available at no cost for of the Center Stage team for assistance. any performance. Assistive listening devices are always available to be borrowed at no BOX OFFICE The Marilyn Meyerhoff Box cost. An ASL Interpreted performance will Office on the first floor can service all patron take place Fri, Nov 8 at 8pm. When buying needs regarding purchasing tickets, will call, online use promo code SIGN. listening devices, braille and large print programs, and address any of your questions. CC ON-STAGE SMOKING We use tobacco- free herbal imitations for any on-stage smoking PARKING and do everything possible to minimize the If you are parking in the 601 N. Calvert St. impact and amount of smoke that drifts into the Garage (diagonally across from the theater audience. Let our Box Office or Audience at Monument & Calvert) you can pay via Services personnel know if you’re smoke credit card at the pay station in the garage sensitive. lobby or at the in-lane pay station as you exit. We do not validate parking tickets. CHILDREN Children under six are not allowed in the theater for Mainstage productions. FEEDBACK We hope you have an enjoyable, LATE SEATING Patrons arriving after stress-free experience! Your feedback curtain will be seated at the house manager’s and suggestions are always welcome: discretion. Late seating does not guarantee [email protected] or the seats on ticket. [email protected].

44 BALTIMORE CENTER STAGE ARTISTIC CORNER LAND ACKNOWLEDGMENT

Honor Native Land Responding to a call from our Indigenous colleagues, collaborators, and neighbors, Baltimore Center Stage is working toward building meaningful and accountable relationships with the land we occupy. As a first step on this path, you’ll see a land acknowledgement in each of our programs. Acknowledgment is itself a small gesture, and we look forward to continuing our efforts toward decolonization in a good way. If you’re interested in more information about the practice of land acknowledgement, feel free to visit the US Department of Arts and Culture’s “Honor Native Land” guide.

Baltimore Center Stage acknowledges that the land beneath us, this place, this community, owes its vitality to generations who have come before. Some were brought forcibly to this land, some came here in search of ownership or simply a better life, and some have lived and stewarded this land for countless generations. In a spirit of making erased histories visible, we acknowledge that we are standing on the ancestral and occupied lands of the Piscataway Nation. The Susquehannock, Lenape, and Lumbee peoples have also cared for this land. These peoples are not relics of the past, but they continue to steward this land today with care, vitality, and tradition. Their relations are numerous throughout Turtle Island, and they are continuing to grow. We pay respects to their elders past, present, and future. Please take a moment to consider the many legacies of violence, displacement, migration, and settlement that bring us together here today. And please join us in uncovering such truths at any and all public events.

Additionally in the spirit of reconciliation, you can honor the Indigenous peoples of this land by donating to Native American Lifelines, visiting the Baltimore American Indian Center & Heritage Museum, and supporting local Indigenous artists. These are only a few suggestions of the many ways we can move towards reconciliation.

BALTIMORE CENTER STAGE 45 UP NEXT A PLAY ABOUT FAMILY, AND OTHER INJUSTICES

RICHARD & JANE & DICK & SA LLY BY NOAH DIAZ DIRECTED BY TAYLOR REYNOLDS CO-PRODUCTION WITH PLAYWRIGHTS REALM FEB 6–MAR 1, 2020 See Richard go. See Spot bark. See Dick cry. See Sally sign. See Jane struggle after a lifetime in her brother’s shadow. The classic world of “Dick and Jane” is beginning to fracture in this witty and raw look into one dysfunctional and dissembling family.

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